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I think that cinema and television have nothing in common. There is a breaking point between photography and cinema on the one hand and television and virtual reality on the other hand.

Paul Virilio

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Paul Virilio
Age: 86 †
Born: 1932
Born: January 4
Died: 2018
Died: September 10
Architect
Art Theorist
Exhibition Curator
Painter
Philosopher
Photographer
Sociologist
Urban Planner
Writer
Paris
France
Reality
Virtual
Hands
Breaking
Nothing
Cinema
Think
Photography
Thinking
Television
Hand
Point
Common

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In a way, everybody is wounded from the wound of the real. This phenomenon is similar to madness. The mad person is wounded by his or her distorted relationship to the real.
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Already, viral contamination offers an initial response to the question of the downside of electronic circuits, but another area of research beckons the area of ecological pollution. The pollution not only of air, water, and other substances, but also the unperceived pollution of distances.
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Whoever controls the territory possesses it.
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Let us put it this way, techno-scientific intelligence is presently insufficiently spread among society at large to enable us to interpret the sorts of techno-scientific advances that are taking shape today.
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Science, which is not so attached to 'truth' as it once was, but more to immediate 'effectiveness', is now drifting towards a decline, it's civic fall from grace.
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Resistance is always possible! But we must engage in resistance first of all by developing the idea of a technological culture.
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Today, almost all-current technologies put the speed of light to work.
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Cyberspace is an accident of the real. Virtual reality is the accident of reality itself.
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In a way, technologies have negated the transcendental God in order to invent the machine-God. However, these two gods raise similar questions.
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In the very near future, and I stress this important point, it will no longer be war that is the continuation of politics by other means, it will be what I have dubbed 'the integral accident' that is the continuation of politics by other means.
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You cannot dissociate birth from death, creation from destruction, good from evil. Thus any art is a form of drama standing between the two extreme poles of birth and death, just like life is drama. This is not sad, because to be alive means to be mortal, to pass through.
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Art has become more than painting, sculpture or music: art is more than Van Gogh painting a landscape or Wagner composing an opera. The whole of reality itself has become the object of art.
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Under the Occupation, we in Nantes were denied access to the coast of the Atlantic Ocean. It was therefore not until after the War was over that I saw the sea for the first time, in the vicinity of St Nazaire. It was there that I discovered the bunkers.
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Art is drama. Any relationship to art is also a relationship to death.
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For example, we have developed an artistic and a literary culture. Nevertheless, the ideals of technological culture remain underdeveloped and therefore outside of popular culture and the practical ideals of democracy.
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In industrialized warfare, where the representation of events outstripped the presentation of facts, the image was starting to gain sway over the object, time over space. Soon a conflict of strategic and political interpretation would ensue, with radio and then radar completing the picture.
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For the time being, technologies are colonizing our body through implants. We started with human implants, but research leads us to microtechnological implants.
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Possession of territory is not primarily about laws and contracts, but first and foremost a matter of movement and circulation.
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Concepts are mental images.
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